The history behind the unspoken tradition of wearing white for life milestones 

By LORENA ALVAREZ — arts@theaggie.org 

With graduation around the corner, many students are in search of the perfect white dress to pair with their stoles, cords and navy cap and gown. The question still remains though, why do graduating students put so much effort into finding the “perfect” white dress for their graduation ceremony and pictures? The Aggie decided to explore this more in-depth, piecing together the history behind the tradition of wearing white for milestones while also working in commentary from members of UC Davis’ Fashion and Design Society (FADS). 

Although wearing white to weddings is a controversial “rule,” this tradition did not begin until “1840, when Queen Victoria defied the usual practice by wearing a white dress to her wedding,” according to The Washington Post. Before Queen Victoria, wearing white to milestones was unconventional and not the standard that it is today. Queen Victoria may have set the curve for this time, but it still doesn’t fully answer the question of why graduating students across America choose to wear white for graduation today. 

Pachia Vang, the cultural studies of fashion and textile surface design: patterns and resists lecturer, spoke about the cultural meanings behind the color white. 

“White means different things in different cultures and contexts,” Vang said. “In the West, it has generally represented purity and is seen as a blank slate for new beginnings. This is why brides wear the color for weddings as they enter into new phases in their lives. We also see the color adopted as a form of feminism, worn by suffragists and continuing to influence the women in Congress today who will wear white pants suits in solidarity with one another.”

That said, Vang also acknowledged that in some cultures, white is not appropriate attire for every occasion.

“In some Asian cultures, however, white can represent death, which is also a type of new beginning,” Vang said. “These different contexts influence why people may choose to wear or not wear white for certain occasions.”

Expanding on the idea that color holds specific meanings, Julia Dang, the executive director and president of FADS and fourth-year design and English double major, noted clothing’s value.

“Fashion and clothing is your way of showing your personality and your emotions from the inside out,” Dang said. “It’s an unsustainable environment and industry, but we [FADS] push for sustainability, creativity and innovation.”

As a Vietnamese-American, Dang went on to comment on the traditional clothing practices in Vietnam, noting a story her mom told her while growing up about how she felt following her school’s dress-code.

“Traditionally when you are in school, in Vietnam, you wear an Áo dài,” Dang said. “[An Áo dài] is a traditional style white tunic dress for girls. It shows that you are capable of being feminine but also powerful in pursuing education. I remember my mom saying that If she didn’t get her dress dirty in school, she’d be like, ‘I did all of these activities, I participated in these chem experiments with my classmates, but I was still able to keep it clean.’” 

When asked why she thought many students gravitate towards white graduation dresses, Dang noted UC Davis’ school colors. 

“White matches most with UC Davis’ gold and blue,” Dang said. “White just matches best under a robe, it shows through more than other colors.”

FADS’ Chief of Internal Affairs, Irena Song, a design major with an emphasis in fashion, noted the trend’s dominance in student culture and how white dresses have become a symbol for graduation.

“When you take photos or when you’re standing next to each other, it looks very cohesive,” Song said. “When you choose one consistent color, it looks like they’re graduating. For example, when you see girls wearing white dresses around campus and see the photographer, you know they’re graduating without even needing to see their stole. The trend is for unity and to mark the occasion.” 

She continued talking about how students can add their own touch to their attire despite their choice to follow the trend, speaking about the value of wearing accessories that hold sentimental value. 

“Wearing something that feels meaningful to you, in terms of accessories, is a great way to show your personality,” Song said.

Eesha Bhagwat, one of the FADS officers and a fourth-year neurology, physiology and biology major, noted how graduates could add their unique style while still following the tradition.

“A cool thing to do would be to really go all in on the makeup and do really like out there kind of eyeshadow, like jazz it up rather than just a clean look,” Bhagwat said. 

She went on to note that wearing a white dress is a celebratory tradition that does not transcend people’s style or achievements. 

“When it comes to graduation, this moment is bigger than what you want to wear,” Bhagwat said. “You’re celebrating something you’ve worked so hard for. I hope people don’t get lost in that alone and forget that you can do what and wear whatever you want.”

While wearing white to graduation is an easy way to show unity and ensure that the attire pairs well with UC Davis’ cap and gown, graduation ceremonies are much more than just simply picking up your diploma. Graduation is a time to come together with friends and family to celebrate graduates’ accomplishments, whether that be through traditional cultural clothing or a minimalist dress. 

Written by: Lorena Alvarez — arts@theaggie.org 

The sensational Netflix period romance series invites viewers to enjoy a brand-new love story

By NATALIE SALTER — arts@theaggie.org 

“Bridgerton” has been an icon of current pop culture since its initial break onto the scene in 2020. Since its debut, the show has aired two seasons and a spin-off mini-series and has returned this spring for a third season. Following the lives and loves of the affluent Bridgerton family, Netflix’s hit has taken a turn with each sibling as the season’s star. The first was the lovely Daphne, the second the uptight Anthony — and now, brother Colin steps into the spotlight, though perhaps the season’s true star is his best friend (and future lover) Penelope Featherington. Between Penelope’s secret life as the gossip panelist Lady Whistledown and her long-held feelings for Colin, this season has certainly been teased as one of great drama and romance. But has “Bridgerton” stuck the landing a third time?

At first glance, “Bridgerton” season three possesses all of the glamor and vibrance of its preceding installments. As always, the show is all glittering dances, pastel gowns, magnificent gardens and exquisitely adorned ballrooms. The first episode has a ball of its own, which is familiar territory, if not a little too familiar by now. Many of the show’s sharpest moments of romantic tension or most incriminating moments of drama happen on and around the ballroom floor, and without much variety in the way of dress and color, these sequences are perhaps becoming a little worn. 

It might be worth acknowledging that some of the most iconic and enjoyable moments of
“Bridgerton” — Kate Sharma and Anthony racing horses through the woods, Eloise Bridgerton shunning high society to explore feminist movements in the city’s poorer corners — happen when the show pushes itself beyond territory that is already so well known. Still, the series which once provided escapism during a global lockdown offers pleasant comfort in its resplendent sets, and the viewer who is willing to suspend their disbelief for its most audacious moments (a mishap with a hot air balloon comes to mind) will be delighted by the third season’s story. 

“Bridgerton” does not just follow its central couple but rather includes storylines for its supporting cast as well. In season three’s case, this section of the show’s runtime is a mixed bag. Second brother Benedict Bridgerton was next in line for a season, being the next book in the source material novels after Daphne and Anthony, but was pushed off in favor of Colin and Penelope. As a result, Benedict’s arc this season feels stagnant and at times downright unnecessary, as if the writers were uncertain of where to put him as the last Bridgerton sibling without a clear romance in line. 

Still, there are places where the season thrives, such as in the unexpected friendship that blossoms between Eloise and the once-mean girl Cressida Cowper. Their scenes are surprisingly delightful, and the strong-willed Eloise continues to enchant in each of her scenes. Likewise, the quiet Francesca makes her debut, and though her scenes are understated in comparison to the dramatic romances of her siblings, she still makes a lovely impression on the viewer. The preceding season’s leads Anthony and Kate hover in the background of the story in domestic bliss; Kate’s authoritative personality and clever wit inject a wonderful dose of energy into the family dynamic, and she fits in as perfectly as if she were meant to be a Bridgerton all along. 

What about the season’s stars? After two seasons of Penelope’s bashfully longing glances and Colin’s awkward obliviousness, tensions between the two have reached a head thanks to the former’s new fearsome attitude. “Bridgerton” is known to employ classic romance tropes to move along each love story, such as Daphne and the Duke’s faux relationship plot or Kate and Anthony’s relentless arguing which alchemizes into affection. This time, Penelope calls upon Colin to teach her how to find herself a husband, a setup that clearly makes way for the two to fall in love with each other instead. Though Colin and Penelope are meant to fall under the trope of “best friends to lovers,” one might argue that their supposed friendship has been lacking in its appearances on screen (in previous seasons, Penelope spends much more time laughing with her now-estranged friend Eloise, and Colin is more often found with his brothers than his childhood companion). Still, the chemistry between the actors is enough to electrify their scenes even without a solid foundation, and fans who have long awaited their tale will likely be satisfied with all the highs and lows of their romantic journey. 

Where does this leave the season as a whole? It’s difficult to say, considering that only the first four episodes of “Bridgerton” season three are released and the next four are slated for June 13. The fourth episode of this cluster leaves viewers with a shocking moment between the season leads, as a promise of even more excitement to come. As it stands, the third season of “Bridgerton” is a bumpy one, but even with its lows, the highs are high. If the second part is able to cut loose the threads that are bogging it down and truly give its central romance room to blossom and breathe, it may very well be a diamond of a season. If not, there are still plenty of Bridgerton siblings left to be wed off and plenty more chances for Netflix’s dazzling drama to shine. 

Written by: Natalie Salter — arts@theaggie.org

Featuring four new songs, Laufey’s latest release is well worth your time

By NATALIE SALTER — arts@theaggie.org 

In September of last year, Icelandic-Chinese singer-songwriter Laufey released her long-awaited sophomore album, “Bewitched.” A beautiful blend of jazz and bedroom pop elevated with magnificent orchestral elements, the album proved Laufey’s prowess as an artist while simultaneously launching her into new levels of stardom through hits such as “From The Start.” From the playful “Dreamer” to the cinematic “California And Me (feat. Philharmonia Orchestra)” to the melancholic “Promise,” “Bewitched” shines as an album encompassing Laufey’s skills in emotional songwriting and atmospheric instrumentation. 

On April 26, Laufey returned to the spellbinding world of “Bewitched” to expand the album by four songs, crafting a new version known as “The Goddess Edition.” This extended release brilliantly captures her range as a musician, enchanting an already delightful album.

The first new track is “Bored,” a playfully crafted piece that lyrically chastises an unnamed lover for their vain self-absorption. In its sound, the song falls into Laufey’s lighter, bedroom pop-esque creations, upbeat but restrained. Instantly, Laufey demonstrates her vocal talents, her voice infectious with emotion and flowing seamlessly against the soft piano and drum-led background. 

“Trouble” follows suit in terms of its instrumentation. It is a gently composed song that reflects upon the singer’s difficulties in overcoming her feelings. Midway through the piece, Laufey’s love of jazz finds its way through a striking chorus of trumpets, bringing a pop of brightness. “Trouble” boasts relatable lyrics and a soothing rhythm, making it a pleasing backdrop to the listener’s own emotions.

Laufey shifts to try her hand at another jazz standard on “It Could Happen To You.” More fast-paced than the prior two tracks and far more jazzy, the song is an injection of energy well-placed among the more reflective tracks surrounding it. Laufey’s voice shines against the classy musical backdrop, and it is an absolute delight to listen to from start to finish. Likewise, the song’s playful nature shows that the singer shines in every direction of lyricism, and she can dance from melancholia to youthful whimsy with remarkable ease.

The final track also lends the extended album its name: “Goddess,” a withdrawn and emotionally poignant song that opens up Laufey’s most vulnerable side. A tragic listen that muses upon a toxic relationship steeped in unrealistic expectations, the artist’s hurt is felt pervasively in every note of the song’s piano. Near its end, the prior quietness of the piece is shed, allowing Laufey’s voice to stun while laced with anger and despair. Though a surprisingly sad note to leave the album on, “Goddess” is unforgettable and moves the listener time and time again.

If Laufey’s newest clutch of songs is any indication, her career is sure to only move upward. The singer teased fans that she may release an album of jazz standard covers in the future, a promising choice as “It Could Happen To You” is an absolute standout. Just as the album title suggests, Laufey is nothing short of bewitching, and she’ll continue to spellbind us in the future.

Written by: Natalie Salter — arts@theaggie.org